'Love Me or Kill Me'

Sarah Kane and the Theatre of Extremes
 
 
Manchester University Press
  • erschienen am 25. April 2002
 
  • Buch
  • |
  • Softcover
  • |
  • 222 Seiten
978-0-7190-5956-8 (ISBN)
 
Blasted brought Sarah Kane to the theatre pages of the broadsheets, the front pages of the tabloids, and to the notice of the nation. Covers all Kane's major plays and productions, contains hitherto unpublished material and reviews, and looks at her continuing influence after her tragic early death. A chapter-by-chapter analysis looks at each play in detail and the appendices carry transcripts of interviews with colleagues and leading theatre practitioners involved with her productions. This book is the first study of the most significant British dramatist in post-war theatre and includes unpublished interview material with Sarah Kane herself.
  • Englisch
  • Manchester
  • |
  • Großbritannien
  • Für höhere Schule und Studium
  • |
  • Für Beruf und Forschung
Illustrations, black & white
  • Höhe: 218 mm
  • |
  • Breite: 162 mm
  • |
  • Dicke: 18 mm
  • 281 gr
978-0-7190-5956-8 (9780719059568)
Graham Saunders is a lecturer in Theatre Studies at the University of the West of England -- .
Introduction
1. 'This disgusting feast of filth': Blasted
2. 'If there could have been more moments like these': Phaedra's Love
3. 'This sensible hell': Cleansed
4. 'Only love can save me and love has destroyed me': Crave
5. 'Remember the light and believe in the light': 4.48 Psychosis
6. Converstation with James Macdonald
7. Conversation with Vicky Featherstone
8. Converstation with Nils Tabert
9. Conversation with Mel Kenyon
10. Conversation with Phyllis Nagy
11. Conversation with Kate Ashfield
12. Conversation with Daniel Evans
13. Conversation with Stuart McQuarrie
14. Edward Bond: Sarah Kane and theatre
Select Bibliography
Index -- .
'This is a pioneering book that will have a marked influence of all subsequent Sarah Kane studies. Graham Saunders has spoken to directors, actors and others who worked with her and knew her intimately. You can hear the rustle of draft scripts, feet in rehearsal rooms, the coffee cups of students discussing late into the night. It is astonishing to read such intimate accounts of a woman who became a public icon in her short life... This is not a sycophantic book, its judgements are balanced - and that makes us realise all the more what we have lost. It was one little death, but theatre will need a crowd of brilliant writers to take her place - if even then.' Edward Bond

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